The Endeavor Continues...

Struggles with writing

I must admit something to everyone --- I have been attempting to write a screenplay for quite some time now.

The idea came to me while I was recollecting my film reviews and thinking about how most film critics haven't had a produced screenplay or actively participated in the filmmaking process (the notable exception to this is Roger Ebert and his script for Beyond the Valley of the Dolls. My educational background is in engineering, but one of my passions since high school was watching movies and films and becoming an amateur critic and cinephile. I love seeing the disparate genres and techniques, the history of American and international cinema informing and influencing specific artists and works, and evolving my idea of what makes a film or movie "good" or "bad."

However, I believed that my critiques would be limited in quality and understanding if I didn't at least attempt to participate in some part of the filmmaking process. In the film adaptation of High Fidelity, Rob Gordon, purveyor of "high pop culture," decides to try his hand at the music business by helping some local skater punks put out a record they recorded and he liked. As Laura, his girlfriend, highlights, he is now a part of the culture that he and his friends have observed and critiqued from a bird's eye view. With High Fidelity being one of my favorite films and with wanting to hone my critical eye, I was partly inspired by that plot development to participate in the filmmaking process by writing a draft script.

However, there have been several issues that have popped up throughout the process. The first and most important issue is that I haven't written fiction since junior high for assignments. I haven't lost my sense of imagination --- I've had several ideas for stories appear in my thoughts, and I can come up with a couple of big scenes that I feel would make a major impact. The problem is that I can't fill in the blanks when it comes to those thoughts. Since the beginning of college, I have been a glorified essayist as an amateur critic. Nonfiction has been my writing field. Writing critiques and essays come more naturally to me because the audience is me. The thoughts are mine. Everything said is what I want to say.

This informs of my second major issue --- Who is my audience?

Writing critiques and essays does require understanding of who the author wants to read his/her work, but the tailoring process, at least to me, is easier with these works because the end result is still clearly in the author's control. Compromises are made in the flow and diction, but the thoughts are pure.

When I write critiques or essays, my idea of the audience is people who want to read the "hows" and "whys" or for people who want to learn to read the "hows" and "whys." My critiques are never "cut-to-the-chase" works. I want to lay out what I thought was good and bad and then show why the structure is strengthened or weakened due to those proficiencies and deficiencies. Ideally, I want the "cut-to-the-chase" readers to read my critiques and become more inquisitive about the idea of "good" and "bad." Understandably, this is a flawed hope due to my writing approach being static and wanting more people to become elastic when it usually takes the approach to become more elastic to get the static readers. I still hold to my ideals, though, and it is why I see writing critiques and essays as a less compromising form.

My attempt at writing fiction stalls because my definition of the audience has now increased in size. I don't want to write a script that only caters to me (i.e. Michael Scott from The Office and his script for Threat Level Midnight). I want to write something that will keep someone's interest yet be authentic with the characters and their motivations. It's easy to write characters with my voice and thoughts, but I obviously can't make every character that way. It worked for Kevin Smith for a decade, but then it stopped working for Kevin Smith (one can only write so many permutations of Clerks before the idea loses traction). Once I think about the audience, I start to lose grasp of the idea, gaps begin to enlarge, and it all iterates until I have hit the point of overthinking.

My final major issue, and one that is specific to screenwriting, is this --- how the hell do I write something that is interesting for at least 90 minutes?

This issue is due to how the logical part of my mind works. I look at my ideas and develop a very basic plot. While looking at the plot, I fill in the blanks and realize that the plot could be completed in 15 to 30 minutes (if one thinks this is how writing for a television show works, that's only part of the battle --- a American season is at least 13 episodes, and coming up with a good story arc for several episodes is no easy task, so good luck coming up with the other 12+ episodes). Then I start thinking of subplots, but they start to appear arbitrary to the general plot, and the whole structure collapses in my head. The unwritten rule for a feature film is at least 90 minutes. If I can't come up with something that will hold for a third of that, then how will I be able to develop something for more?

I haven't even gotten to the actual writing part and have seen how difficult the process is. I have a deep respect for those who can write fiction in any medium. It takes a great deal of effort and focus just to get through the initial steps. Maybe I should focus on developing a short-film idea, maybe I'll never finish that screenplay or am not meant for fiction, or maybe the mental breakthrough will happen some ways down the road.

The goal of writing a screenplay is currently out of reach. It's frustrating as hell, but maybe I'll learn something from this journey to expand my horizons.

My Workout For Thursday January 09

I earned 711 points for my workout on Fitocracy!

Dumbbell Bench Press +196 pts

25 lb x 12 reps (+46 pts)

30 lb x 12 reps (+49 pts)

35 lb x 12 reps (+52 pts)

40 lb x 6 reps (+49 pts)

Bent Over Two-Dumbbell Row +163 pts

15 lb x 12 reps (+40 pts)

20 lb x 12 reps (+41 pts)

25 lb x 10 reps (+41 pts)

25 lb x 10 reps (+41 pts)

Standing Dumbbell Upright Row +103 pts

15 lb x 12 reps (+26 pts)

20 lb x 10 reps (+26 pts)

20 lb x 10 reps (+26 pts)

20 lb x 8 reps (+25 pts)

Dumbbell Bicep Curl +102 pts

15 lb x 12 reps (+26 pts)

20 lb x 10 reps (+26 pts)

20 lb x 8 reps (+25 pts)

20 lb x 7 reps (+25 pts)

Dumbbell Shrug +71 pts

15 lb x 12 reps (+17 pts)

20 lb x 12 reps (+18 pts)

25 lb x 10 reps (+18 pts)

25 lb x 10 reps (+18 pts)

Reverse Crunch +52 pts

10 reps (+13 pts)

10 reps (+13 pts)

10 reps (+13 pts)

10 reps (+13 pts)

Cycling (stationary) +14 pts

0:05:30 || 1.0 mi || 5 % (+14 pts)

Dips - Triceps Version +8 pts

12 reps || assisted || 145 lb (+2 pts)

8 reps || assisted || 130 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 115 lb (+2 pts)

Stretching +2 pts

0:10:00 (+2 pts)

Think you can beat me, or want to comment?

Fitocracy is the social fitness community that has helped hundreds of thousands level up their fitness. Start your fitness transformation today!

Now available for free on both iPhone and Android!

Farewell, 20s...Hello 30s!!!

La La Land Review

La La Land Review

Automobiles are jammed in traffic on an exit ramp in Los Angeles in a sunny winter. Everyone is restless and impatient. One person breaks out in song, then another, and one by one most of those stuck in traffic sing and dance, showing off vivid pigments of blue, red, green, and yellow. As the song goes it’s “Another Day of Sun.” Cue titles. This is the beginning of La La Land, an homage to 1940s…

View On WordPress

When the legend becomes fact, print the legend.

The Man Who Shot Liberty Valance. But it’s true pretty much all the time. (via politicalprof)

My Workout For Tuesday January 21

I earned 728 points for my workout on Fitocracy!

Stretching +2 pts

0:10:00 (+2 pts)

Pull-Up +8 pts

12 reps || assisted || 145 lb (+2 pts)

6 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 130 lb (+2 pts)

4 reps || assisted || 130 lb (+2 pts)

Bent Over Barbell Row +112 pts

55 lb x 12 reps (+26 pts)

65 lb x 12 reps (+28 pts)

75 lb x 10 reps (+29 pts)

75 lb x 10 reps (+29 pts)

Upright Barbell Row +93 pts

55 lb x 12 reps (+23 pts)

65 lb x 10 reps (+24 pts)

65 lb x 9 reps (+23 pts)

65 lb x 9 reps (+23 pts)

Plank +20 pts

30 sec (+10 pts)

30 sec (+10 pts)

Stiff-Legged Barbell Deadlift +199 pts

55 lb x 12 reps (+46 pts)

65 lb x 12 reps (+49 pts)

75 lb x 10 reps (+52 pts)

75 lb x 10 reps (+52 pts)

Side Plank +42 pts

30 sec (+21 pts)

30 sec (+21 pts)

Dumbbell Shrug +75 pts

20 lb x 12 reps (+18 pts)

25 lb x 12 reps (+19 pts)

30 lb x 10 reps (+19 pts)

30 lb x 10 reps (+19 pts)

Reverse Crunch +76 pts

15 reps (+19 pts)

15 reps (+19 pts)

15 reps (+19 pts)

15 reps (+19 pts)

Dumbbell Bicep Curl +101 pts

15 lb x 12 reps (+26 pts)

20 lb x 12 reps (+27 pts)

25 lb x 6 reps (+25 pts)

25 lb x 5 reps (+23 pts)

Think you can beat me, or want to comment?

Fitocracy is the social fitness community that has helped hundreds of thousands level up their fitness. Start your fitness transformation today!

Now available for free on both iPhone and Android!

Lily would like to wish everyone a Happy New Year!

My Workout For Thursday January 23

I earned 842 points for my workout on Fitocracy!

Stretching +2 pts

0:10:00 (+2 pts)

Dips - Triceps Version +10 pts

1 reps (+2 pts)

12 reps || assisted || 130 lb (+2 pts)

8 reps || assisted || 115 lb (+2 pts)

6 reps || assisted || 115 lb (+2 pts)

5 reps || assisted || 115 lb (+2 pts)

My first unassisted dip! Now to see if I can get more...

Dumbbell Bench Press +213 pts

30 lb x 12 reps (+49 pts)

40 lb x 12 reps (+56 pts)

45 lb x 7 reps (+55 pts)

45 lb x 6 reps (+53 pts)

Barbell Squat +214 pts

65 lb x 12 reps (+49 pts)

85 lb x 10 reps (+55 pts)

85 lb x 10 reps (+55 pts)

85 lb x 10 reps (+55 pts)

Barbell Deadlift +206 pts

55 lb x 12 reps (+46 pts)

75 lb x 12 reps (+53 pts)

85 lb x 8 reps (+53 pts)

85 lb x 9 reps (+54 pts)

Standing Dumbbell Shoulder Press +180 pts

15 lb x 12 reps (+44 pts)

25 lb x 10 reps (+49 pts)

25 lb x 7 reps (+46 pts)

25 lb x 5 reps (+41 pts)

Standing Calf Raises +17 pts

12 reps || weighted || 65 lb (+4 pts)

12 reps || weighted || 85 lb (+5 pts)

10 reps || weighted || 95 lb (+4 pts)

10 reps || weighted || 95 lb (+4 pts)

Think you can beat me, or want to comment?

Fitocracy is the social fitness community that has helped hundreds of thousands level up their fitness. Start your fitness transformation today!

Now available for free on both iPhone and Android!

A Review of Rogue One: A Star Wars Story

A Review of Rogue One: A Star Wars Story

The first two paragraphs of the opening scroll of Star Wars is as follows: “It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire’s ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet.”…

View On WordPress

The Hunger Games: Catching Fire Film Review

An act.  A simple, defiant act from one person.  The intent was to call one man's bluff.  The result is the beginning of something far larger than one could have imagined, something that could change the world but leave a path of devastation in the process.  Can that person live with himself/herself knowing what the consequences of his/her decision will be?  Can he/she become the hero the larger picture desperately wants him/her to be? This idea is explored in the film The Hunger Games: Catching Fire, Francis Lawrence's adaptation of the second book in Suzanne Collins' massively popular The Hunger Games trilogy, and while it does suffer from "middle film syndrome," the stronger story, excellent acting, and thematic focus make it an improvement over the very good first film. In the 74th Hunger Games, Panem's District 12 tributes Katniss Everdeen and Peeta Mellark challenged the gamemakers and the Capitol by threatening to kill themselves and yield no winner.  The authorities acquiesced and let both live.  However, this act of defiance, coupled with Katniss' compassion toward a tribute from District 11, planted the seeds of insurrection that has been met with equally violent suppression.  President Snow, ruler of Panem, makes a deal with Katniss - sell the idea that her defiance was an act of love for Peeta and aid in quelling the burgeoning rebellious atmosphere or see her and Peeta's loved ones die. Katniss, loyal to her family above all, decides to continue the charade of love, but as the victory lap across the other Districts commences, she witnesses the oppressive state in action, and the charade collapses.  Snow decides that for the 75th Hunger Games, the third Quarter Quell, tributes that survived the previous Games are the only eligible tributes. putting Katniss and Peeta back into the Games.  However, this time isn't just about survival --- revolution is in the air, and Katniss has to decide if she can bring things back to the status quo or if she can become symbol of the revolution that is desired of her. The first film only hinted at the thematic elements that come into play throughout the entire story.  In Catching Fire, the exploration of violence and revolution and the personal cost of each comes to the forefront. Katniss, Peeta, and their mentor, Haymitch Abernathy, all are dealing with Post Traumatic Stress Disorder.  Katniss is explicitly suffering from nightmares and emotional triggers, Peeta is struggling to move forward with his life, and Haymitch is severely self-medicating with alcohol.  Haymitch reiterates to Katniss several times that there are no winners of The Hunger Games, just survivors, and there is no end to the involvement in the Games as now they must be mentors to other tributes from District 12, reliving the horrors the Games gave them.  Compound that with having to keep up the show that Katniss put on involving falling for Peeta, and Katniss sees how the Games have eternally forced her to live a lie, crushing whatever spirit she has left. The first half of the film compares and contrasts this with the unrest and oppression of the Districts and the mindless disconnect of the Capitol.  The second half becomes more plot-driven as the 75th Hunger Games gets underway, causing the film to have a split personality, but the thematic focus is constant, and the brutality of the story's universe is felt with major impact. The screenplay drafted by Simon Beaufoy and rewritten by Michael Arndt (credited as Michael deBruyn) does a great job highlighting the thematic points without making them obvious, and the editing work by Alan Edward Bell as well as the cinematography by Jo Willems fix the incoherence of the action sequences in the first film, making a solid story worth watching.  James Newton Howard's film score accentuates the tonal shifts of the film without becoming overbearing. The strong acting that was the main reason to watch the first film is also much improved. Jennifer Lawrence has been nothing but a high-quality actress since her breakthrough in Winter's Bone, and her winning a well-deserved Oscar for Silver Linings Playbook has not caused her to settle.  The weariness and loss of innocence in Katniss' eyes and her struggles with PTSD draw the audience into the story more than before.  Her chemistry with everyone is natural, and her physicality balances her emotional frailty.  Jennifer Lawrence is still the number one reason why this film series has been successful.  Her talent seems limitless, and with how incredible she is at playing a wide range of roles, she may be this generation's Meryl Streep. Josh Hutcherson improves significantly in this film, not only holding his own against Jennifer Lawrence but also giving the film a counterbalance to Katniss.  While Katniss is struggling with nightmares, Peeta is simply stuck in neutral.  He knows he shouldn't have won the Hunger Games, and he's aware that Katniss' affections were a ruse, but his existence is a lonely one, and his only wish is to form some connection to the one person who is the reason he is still alive.  Josh Hutcherson stil exudes the same charm as before, but he now gives Peeta more gravitas, more baggage, more of what we wanted him to be in the first film - someone about whom the audience truly cares. Woody Harrelson evolves the darkly comic relief of Haymitch Abernathy in the first film to something more tragic --- a man who is eternally haunted by "winning" a Hunger Game.  He is who Katniss could become.  His alcoholism and sardonic demeanor is still played for laughs from time to time, but Haymitch now imbues that humor with melancholy and provide a reason for Haymitch to be the smart-ass that he is.  Woody Harrelson is just fantastic. Elizabeth Banks takes Effie Trinket, the symbol of Capitol disconnect, and gives her humanity, showing that her fashion and eloquence has become a facade for her compassion.  Lenny Kravitz continues to emanate charm, charisma, and style as Cinna.  Stanley Tucci and Doug Jones provide the necessary jovial counterpoint to the seriousness of the film as the co-hosts of the Hunger Games proceedings.  Donald Sutherland takes President Snow from the imposing father figure in the first film to the great manipulator in this film, and his calm demeanor accentuates the danger of his threats. The newcomers all hold their own against the series' veterans.  Jena Malone is exciting as tribute Johanna Mason, portraying pure id with her deliberate undressing in the presence of Katniss, Peeta, and Haymitch, her unfiltered voice, and her unhinged actions and reactions throughout the Quarter Quell  Jeffrey Wright and Amanda Plummer get to play superego as eccentric, intelligent tributes Beetee and Wiress, respectively, who carefully plan out how to utilize the environment to their advantage, and both shine in their roles.  Sam Claflin is wonderful as tribute Finnick Odair, the ego who helps Katniss and Peeta stay alive while understanding the long-term goal and reminding Katniss of "who the real enemy is."  Philip Seymour Hoffman is in reliably top form as new head Gamemaker Plutarch Heavensbee, and although his appearance is brief, his presence is felt, and it will be a pleasure to he him more in the next installment. The film does suffer a case of "middle film syndrome," mostly due to the nature of the story and how the first book was adapted.   The first film barely hinted at the burgeoning revolution, only showing one riot --- in District 11, and through its focus on the people of the Capitol as the primary viewership, a group that is isolated from the oppression.  The oppression was present, but the unrest was more of an afterthought --- the people of each District had found ways to live within the confines of Panem.  It makes transitioning to the second film jarring as now the oppression and unrest are felt in every frame.  This film succeeds in reintroducing everything and everyone without excessive exposition.  If one was to start watching the series with this entry, he/she would be able to follow the story pretty well with few questions. The ending leaves a bit to be desired emotionally and hangs the story at an ellipses than a defined period.  Many second films, or at least a film prior to the end, hang at an ellipses without completing its own arc --- the implied sole purpose is to set up the next film.  Even great and successful films such as The Lord of the Rings: The Two Towers couldn't circumvent this.  The Empire Strikes Back had a plot-related ellipses, but that film had a complete emotional arc that was independent yet integral to the entire series.  With Catching Fire, by being more literal in its adaptation, the ending introduces new ideas and plot points just to set up the next film, and it makes the film feel incomplete. However, it could be recommended to start with this entry due to it being a different director.  Gary Ross did a successful job with the first film, but Francis Lawrence fleshes out the universe with impressive details and allows the actors to drive the story forward.  Aside from the exposition heavy ending, Francis Lawrence succeeds greatly at the "show, don't tell" approach. The best moment in the film, and the scene that is the one to beat in the entire series, is a brief but powerful sequence involving the announcement that the Quarter Quell will draw its tributes from only the surviving victors of every Game.  It starts with the emotional devastation of Katniss' family, followed by an angry and distressed Haymitch screaming and throwing an empty bottle at the screen, then a stunned and frightened Peeta having the gravity of the announcement push him into his chair, ending with Katniss, emotionally destroyed, running into the woods, gasping for air while screaming in dismay.  This reads like it's melodrama, but the way the director lets the actors play this moment, it's the most human, most emotionally devastating moment in the entire film.  The hope that Katniss accidentally instilled in the Districts after winning the last Game has left these three people in that moment, and it ultimately sets everything in motion for the rest of the story. This moment gives hope that Francis Lawrence will make the next films in the series better and better.  His touch has upped the ante of the series, and while it may be nothing more than the middle film of the series, The Hunger Games: Catching Fire is a great adaptation, a very good film with powerful moments, and a sign that the series is in good hands.

Movie Rating: 8.5/10 A tense and thought-provoking first half gives way to a thrilling second half that don't gel together ideally but are wonderfully executed halves.

Film Rating: 8.5/10 The themes of violence from the first film evolve into revolution and reluctant heroism; even an open-ended conclusion doesn't diminish from overall

Hunger Games Film Rating: 9/10 The efficiency of the first film is traded for a fuller experience, one that is emotionally rewarding and viscerally entertaining.